1 Reconsidering the Body Genre: Rape-Revenge and Postfeminist Softcore as Biocultural Phenomena David Andrews, Independent Scholar Abstract: Body genres represent ideal candidates for biocultural theorisation due to their almost universal effects on audiences. However, not all body genres can be interpreted at the formal level through a direct application of biological ideas; some require an indirect approach that emphasises cultural information as much as biological information. The article pursues this thesis by applying an understanding of heterosexual rape drawn from evolutionary psychology to the motifs of sexual coercion that structure two body genres: rape-revenge and postfeminist softcore. The biocultural approach may be applied in a direct way to rape-revenge, which has often been deemed offensive despite its critiques of male sexual coercion. This direct analysis may then be used as the foundation for a more indirect analysis of postfeminist softcore, a genre that stylises rape to remain inoffensive to women but in the process sacrifices its ability to critique the male aggression predicted by feminists and evolutionists alike. Introduction Some time ago, I began adapting the ideas of literary Darwinists such as Joseph Carroll to the needs of film theory. I was no longer satisfied with Soft in the Middle, my study of American softcore cinema, which used overly complicated, almost counterintuitive social-constructionist methods to theorise the genre’s presentation of the body. Constructionist approaches, from humanities theories like structuralism to methods in the social sciences, stress the human and ideological fabric of art and society. Such “blank slate” methods view the mind as a product of learning and environment that lacks innate traits (Pinker 73–101). These approaches typically neglect the place of the human world in the broader context of nature. A “biocultural” method, by contrast, holds that humanity, in all its phenomena, is always part of the natural world. With its unifying idea of “human nature”, this approach blends biological methods with forms of history, criticism, and theory traditional to the humanities. Although this approach is contested in the humanities and in film studies in particular, it is often more commonsensical and parsimonious than a constructionist approach that would explain the appeal of softcore cinema by invoking ideology more than biology.1 Indeed, the biocultural approach can offer many straightforward insights into the sex-and-gender biases that structure softcore narrative, spectacle and reception. Naturally, this approach is also useful in the study of other sexualised forms, including art films and rape-revenge films. Like softcore, these forms constitute “body genres”.2 The biocultural approach can illuminate their treatment of the body and their psychosexual appeal to audiences. Alphaville: Journal of Film and Screen Media Issue 7, Summer 2014 2 For example, recent insights into the biological underpinnings of rape and revenge can help film theorists analyse the narrative format and bodily appeal of the rape-revenge genre, wherein scholars such as Carol Clover, Jacinda Read, and Alexandra Heller-Nicholas have often discerned feminist content. This sort of biocultural interpretation has several benefits. For one thing, it delivers the study of rape-revenge from a theoretical impasse that has grown increasingly pronounced as scholars like Read and Heller-Nicholas have abandoned psychoanalytic tools. In addition, the clarity of this analysis makes it a useful foundation for film theorists who would apply biocultural approaches to more problematic cultural phenomena where the logic may not be immediately apparent. Postfeminist stylisation is one such phenomenon. A commercially indispensable feature of softcore as it has developed in the post-Code era, this stylisation is a complex aspect of an otherwise straightforward genre. Such complexity can make the phenomenon appear ill suited to biocultural theorisation. However, it is possible to preempt objections to this application of the approach by edging into the indirect, evolutionary meanings of the term “postfeminist” after first drawing more direct evolutionary insights from rape-revenge. The focus of this article’s analysis of postfeminist stylisation is Zalman King, a softcore pioneer who relied on postfeminist tactics to guarantee the distribution of his erotic films and serials. Film theorists may discern the indirect, biocultural meanings of postfeminist stylisation by comparing motifs of sexual coercion present in softcore after King to coercion motifs available across rape-revenge. The Evolutionary-Feminist Implications of Rape-Revenge Rape-revenge implies a basic, causal, and even primal narrative format. In the standard heterosexual pattern, a woman is raped by a man or men, a horrific crime that spurs an act of vengeance carried out by a cast of characters that most often includes the victim’s family, the victim’s allies, or the victim herself (Heller-Nicholas 3). Given that the victim can be a man, a child, or an LGBTQ person of any gender, variation is always possible in this format. Still, the heterosexual model accounts for the large majority of rape-revenge films, from canonical exploitation texts like I Spit on Your Grave (Meir Zarchi, 1978) to mainstream Hollywood successes like The Accused (Jonathan Kaplan, 1988) and European art films like Irreversible (Irréversible, Gaspar Noé, 2002). The genre’s most consistent, evolutionarily meaningful motifs are the idea of rape as a special crime warranting revenge; the use of flashbacks to convey rape trauma; and the depiction of castration and torture in revenge scenes, which has fostered overlap between rape-revenge and the newer body genre known as “torture porn” (see Jones). What makes rape-revenge an ideal candidate for biocultural theorisation is that evolutionary psychologists have recently developed an account of heterosexual rape that is contested but whose parameters are clear; they have also developed a theory of the human instinct for revenge that is less contentious and whose parameters are equally clear. To explain rape, biologists have started with natural selection and its variants, especially sexual selection. First conceived by Charles Darwin, these processes of selection indicate that traits proliferate in a species if they enhance reproduction and survival. According to evolutionary psychologists, heterosexual rape is caused by differences in “male and female evolved sexuality. It can either be an adaptation, which means it was favoured by selection because it increased male reproductive Alphaville: Journal of Film and Screen Media Issue 7, Summer 2014 3 success, or it was a byproduct of other dispositions adaptive in ancestral times” (Vandermassen 732). In A Natural History of Rape, Randy Thornhill and Craig Palmer have contributed a landmark account of this theory that is in pointed conflict with the feminist orthodoxy dominant in the humanities. According to Susan Brownmiller and other second-wave feminists, rape is an expression of patriarchal power rooted in culture, not an expression of sexual desire rooted in nature. Thornhill and Palmer contest this account by ruling out nonsexual motives for rape like anger and a need for control (124–28). However, as a historian of science and a gender scholar, Griet Vandermassen discerns flaws in their approach. Thus, she synthesises an “evolutionary feminist” theory fusing the most defensible parts of the Thornhill and Palmer account with the ideas of feminist biologists such as Barbara Smuts and Sarah Mesnick, who interpret the need to control female sexuality as an evolved component of male coercive behaviour. Vandermassen’s use of Smuts and Mesnick is apt, for these biologists perceive their own research as part of the feminist critique of patriarchal power. Indeed, Smuts specifies that evolutionary theory not only considers how men exercise power over women, as feminist theory does, but also investigates the deeper question of why males want power over females in the first place, which feminists tend to take as a given. (“Evolutionary Origins” 2; emphasis in original) Because males across species make a smaller parental investment than females, they are on average the more promiscuous sex, more interested in mate quantity than mate quality. Thus, males are often in jealous competition for mates, resulting in what Vandermassen calls the “male coercive repertoire” (738). Vandermassen applies this notion to humans, arguing that men unconsciously “want power over women because they have an evolved desire to control female sexuality and the offspring women produce (in order to ensure paternity)” (738). To achieve such control, some men choose violence. This Darwinian account of heterosexual rape may be connected to the emerging Darwinian account of the human instinct for revenge to create a balanced evolutionary theory of rape-revenge. In Beyond Revenge the evolutionary psychologist Michael McCullough offers a theory of the revenge instinct, which he calls “a built-in feature of human nature” (xvii). According to McCullough, the “desire for revenge isn’t a disease to which certain unfortunate people fall prey. Instead, it’s a universal trait of human nature, crafted by natural selection” (10; emphasis in original). As an adaptive trait, the revenge instinct was initially a problem-solver whose main function was to deter aggressors from harming people more than once (49). McCullough hypothesises